심주 낙화시에 보이는 달관의식

Abstract

Shen Zhou(1427-1509) is a painter, calligrapher, and writer from Suzhou in the Ming Dynasty. As the founder of Wumen Painting School, he is also called Four Ming Painters together with Wen Zhengming, Tang Yin, and Qiu Ying in the field of painting. Even though Shen Zhou was a secluded writer without holding a government post, he was already called the head of Wuzhong literary world during his lifetime owing to his excellent paintings and literary works. When Shen Zhou was 78 years old in the 17th year(1504) of Hongzhi’s reign, he initially wrote his fallen flower poems. His disciples or friends like Wen Zhengming, Tang Yin, Xu Zhenqing, and Lu Chang wrote antiphon poetry one after another. As Shen Zhou wrote another antiphon poetry in regard to their poems, a lot of fallen flower poems were created at a time. In case of Shen Zhou’s fallen flower poetry, total 30 poems were published in Volume 8 of Shitian Xiansheng Shichao, and total 50 poems were published in Volume 9 of Shitian Shixuan. This thesis intensively considered the philosophical view shown in Shen Zhou’s fallen flower poetry. The fallen flower poetry before Shen Zhou mostly expressed the sentiment of grieving at the end of spring while Shen Zhou mostly expressed the philosophical view of life in his fallen flower poetry such as ‘When there is appearance, there is disappearance as well’, ‘When there is fullness, there is emptiness’, and ‘We should neither grieve nor rejoice’. Such a philosophical view was overall influenced by Shen Zhou’s way of life to voluntarily become a hermit, his life wisdom absorbed from Buddha and Lao Zi by interacting with Buddhist monks and Taoists on top of widely reading Confucian books and Books of the Hundred Schools, and the literary climate of Wuzhong region, which was highlighting the nature of literature without getting tied to formality. In the aspect of showing the philosophical view by moving forward from the sentiment of sorrow shown in the previous fallen flower poetry, Shen Zhou’s fallen flower poetry is significant to expand the content of fallen flower poetry. Also, in the aspect of formality, it is significant that the creation of fallen flower poetry in the form of a set of seven poems(七言律詩) standardized the fallen flower poetry in the form of a set of seven poems(七言律詩) afterwards.